With all these men young Jolyon felt the same vague irritation. She looked at none of them, yet was he certain that every man who passed would look at her like that.

Her face was not the face of a sorceress, who in every look holds out to men the offer of pleasure; it had none of the “devil’s beauty” so highly prized among the first Forsytes of the land; neither was it of that type, no less adorable, associated with the box of chocolate; it was not of the spiritually passionate, or passionately spiritual order, peculiar to house-decoration and modern poetry; nor did it seem to promise to the playwright material for the production of the interesting and neurasthenic figure, who commits suicide in the last act.

In shape and colouring, in its soft persuasive passivity, its sensuous purity, this woman’s face reminded him of Titian’s Heavenly Love , a reproduction of which hung over the sideboard in his dining-room. And her attraction seemed to be in this soft passivity, in the feeling she gave that to pressure she must yield.